Media Technology: Critical Perspectives (Issues in Cultural and Media Studies (Paperback))
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- What are media?
- Why are more and more objects being turned into media?
- How do people interconnect with the media in structuring their everyday lives?
In Media Technology: Critical Perspectives, Joost van Loon illustrates how throughout the course of society, different forms of media have helped to shape our perceptions, expectations and interpretations of reality.
Drawing on the work of media scholars such as Marshall McLuhan, Walter Benjamin, Roland Barthes and Raymond Williams, the author provides a theoretical analysis of the complexity of media processes. He urges the reader to challenge mainstream assumptions of media merely as instruments of communication, and shows how the matter, form, use and purpose of media technologies can affect content.
The book uses practical examples from both old and new media to help readers think through complex issues about the place of media. This helps to create a more innovative toolkit for understanding what media actually are and the basis for trying to make sense of what media actually do. It uses case studies and examples from television, radio, print, computer games and domestic appliances.
Media Technology is essential reading for undergraduate and postgraduate students on media, social theory and critical theory-related courses.
9, 13, 16, 17, 33, 43, 78, 93, 100, 127, 130, 134, cultural reproduction, 7, 10 Cultural Studies, 17, 19, 56–7, 63, 79, 91, 139 cyberfeminism, 93–5, 98, 100 cyborg, 42–3, 48, 98–9, 101 Daily Star, 82 Debord, G., 77, 88 deception, 51, 94, 122 Dasein, 96, 128, 132–3, 138, 140, 148 deduction, 69, 118, 148 Deleuze, G., 112, 119 Deleuze, G., 18, 89 denotation, 69–71, 135 Derrida, J., 37, 53, 68, 70, 76, 119, 131, 143, 144, 145 desire 4, 15, 22, 62, 84–90, 95, 101, 107, 113, 117, 137, 142 affirmative,
created theoretical models in which all other subsequent ‘media’ are seen as ‘add-ons’, causes of possible miscommunication, bias and perhaps even deliberate distortions. Simultaneously, such views have also fuelled a particular kind of communication politics, namely of idealizing ‘pure communication’ as one that is either without media, or with media that are wholly transparent and immediate. It is by forgetting the mediated nature of human being that theoretical speculations have spun off into
means and instruments, as well as agency for the development and organization of collective action, tactical intervention and forms of ‘resistance’. However, these terms can now be reconsidered as part of the technological assemblage, rather than outside of it; forces such as ‘stakes’, ‘interests’ and ‘motives’ then become similarly part of the process of enframing-revealing that constitutes the essence of media. This focus will also help us to reconsider the critique of ‘technological
forms that cannot be manufactured or engineered by means of the application of scientific reason. As a result, both have a built-in aversion to particular modernist aesthetics, especially those that associate change with progress. Unlike many of their contemporary intellectual movements, especially those in the fine arts, British and German cultural criticisms were not unequivocally supportive of modernism. Hence, intellectuals of the Frankfurt School, although closely associated with particular
practice’, Morgan (1978: 128)], others have emphasized that the very nature of pornographic portrayal is already offensive to women. ‘MEDIA AS EXTENSIONS OF WO/MAN’ | Regardless of particular questions of taste, feminist analyses of pornographic content will not fail to point out that the vast majority of pornographic material involves representations of women’s bodies performing various sexual actions that affirm male sexual desires (Church Gibson 2004). Although strictly speaking,